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at the Imperial Court
Bishop of Passau, in which Lazius passed Strada’s criticism off as the envious
ignorance of a mere painter, and an Italian at that.30 Over a year later Strada
responded indignantly to a similar allegation, probably not the one mentioned
here, but one contained in an unidentified (lost?) pamphlet Lazius appears to
have devoted to the question, and which, though already printed, had not been
actually published.31 In this attack Lazius appears to have referred to Strada as
a mere goldsmith, without even mentioning his name and function as Impe-
rial Antiquary, and to have attributed to him the erroneous opinion that an-
cient coins depicting Romulus and Numa were actually struck under the rule
of these archaic princes. Strada was furious about this attack, which he did not
expect, because Lazius appears to have concealed his understandable resent-
ment: ‘which most annoys me is that Lazius has deceived me, because always
when he met me, he greeted me from afar, and then he thumped me on my
shoulders<…>.32
In an extensive apology handed personally to King Maximilian, rather than
to the Emperor himself, Strada began by demolishing the interpretation of a
coin of Mark Antony given in Lazius’ description of Thrace, in his Commentari-
orum rerum Graecarum of 1558–1559 [Fig. 4.11].33 Strada sent a copy of this apol-
ogy and a covering letter to Hans Jakob Fugger, and together these provide a lot
of information about Strada’s position in Vienna at that time. It appears that
Strada was particularly nettled by Lazius’ dismissing his qualities as a scholar
and a gentleman: the passage serves as an illustration of the discussion on the
social position of the artist so common in the Renaissance. Lazius’ reference to
him as a mere goldsmith most have been the more galling because—notwith-
standing his doctorate and his intellectual and political prominence—Lazius
was a commoner, while Strada himself was after all a nobleman. Perhaps
Lazius had not been very wise in his attack: in any case Strada neatly turns the
argument against him, by stating that he had studied ‘l’arte ch’io ho da putto
imparato’, i.e. the craft of the goldsmith, with the explicit purpose:
30 Commentariorum vetustorum numismatum specimen, Vienna (Michael Zimmermann)
1558; the copy in Stuttgart, Landesbibliothek, Allg. G. fol K 176, includes the variant dedi-
cation to Trenbach; cf. Von Busch 1973, pp. 200–201 and 337–338, notes 55–57.
31 DOC. 1559-06-00. Strada presented his protest to the King shortly before June 6th, when
Strada sent Fugger a copy; in the accompanying letter (DOC. 1559-06-06) he referred to
‘quel folio contro di me’ by Lazius: in the context obviously a sheet, i.e. a pamphlet, rather
than a folio-size book.
32 DOC. 1559-06-06; see appendix 3a.
33 Von Busch 1973, p.338, note 61 erroneously implies that the attack on Strada was included
in this work itself; Strada’s letter to Fugger (DOC. 1559-06-09) makes clear that it was a
separate pamphlet. Strada’s comment discussed in JANSEN 1993, pp. 213–214.
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book Jacopo Strada and Cultural Patronage at the Imperial Court - The Antique as Innovation, Volume 1"
Jacopo Strada and Cultural Patronage at the Imperial Court
The Antique as Innovation, Volume 1
- Title
- Jacopo Strada and Cultural Patronage at the Imperial Court
- Subtitle
- The Antique as Innovation
- Volume
- 1
- Author
- Dirk Jacob Jansen
- Publisher
- Brill
- Location
- Leiden
- Date
- 2019
- Language
- English
- License
- CC BY-NC-ND 4.0
- ISBN
- 978-90-04-35949-9
- Size
- 15.8 x 24.1 cm
- Pages
- 572
- Categories
- Biographien
- Kunst und Kultur
Table of contents
- Preface XV
- Acknowledgements XVIII
- Acknowledgments of Financial Support Received XXI
- List of Abbreviations XXII
- Introduction: The Image—Or from Whom (Not?) to Buy a Second-Hand Car 1
- 0.1 The Portraits of Jacopo and Ottavio Strada 1
- 0.2 Why are These Portraits so Special? 4
- 0.3 Motions of the Mind 4
- 0.4 What is Known About Strada: Early Notices 9
- 0.5 Quellenkunde: Some Sources Published in the NineteenthCentury 15
- 0.6 Kulturgeschichte before World War II 19
- 0.7 Romance: Josef Svátek and the Rudolfine Legend 21
- 0.8 A (Very) Modest Place in the History of Classical Scholarship 24
- 0.9 Contemporary Scholarship 25
- 0.10 What Has Not Been Written on Jacopo Strada 37
- 0.11 Weaving the Strands Together: The Purpose of this Study 39
- 1 Early Years: Family Background, Education, Giulio Romano 45
- 2 Travel: Rome, Landshut, Nuremberg—Strada’s Connection withWenzel Jamnitzer 67
- 3 In Hans Jakob Fuggers’s Service 107
- 3.1 Hans Jakob Fugger 107
- 3.2 Fugger as a Patron and Collector 114
- 3.3 Fugger’s Employment of Strada 121
- 3.4 Architectural Patronage for the Fuggers: The DonauwörthStudiolo 134
- 3.5 Strada’s Trips to Lyon 137
- 3.6 Strada’s Contacts in Lyon: Sebastiano Serlio 149
- 3.7 Civis Romanus: Strada’s Sojourn in Rome 156
- 3.8 Commissions and Purchases: The Genesis of Strada’s Musaeum 174
- 3.9 Departure from Rome 183
- 4 Antiquario Della Sacra Cesarea Maesta: Strada’s Tasksat Court 188
- 4.1 Looking for Patronage: Strada’s Arrival at the ImperialCourt 188
- 4.2 The Controversy with Wolfgang Lazius 200
- 4.3 ‘Obwol Ir.Maj. den Strada selbst dier Zeit wol zu geprauchen’: Strada’s Tasks at Court 210
- 4.4 Indirect Sources Throwing Light on Strada’s Employment at Court 242
- 4.5 Conclusion 248
- 5 Jacopo Strada as an Imperial Architect: Background 251
- 5.1 Introduction: The Austrian Habsburgs as Patrons of Architecture 251
- 5.2 The Prince as Architect: Ferdinand I and Maximilian II asAmateurs and Patrons of Architecture 255
- 5.3 ‘Adeste Musae’: Maximilian’s Hunting Lodge and Garden in the Prater 290
- 5.4 The Imperial Residence: Status quo at Strada’s Arrival 307
- 5.5 The Architectural Infrastructure at the Imperial Court 319
- 5.6 Strada’s Competence as an Architect 331
- 6 Strada’s Role in Projects Initiated by Emperor Ferdinand I 339
- 7 An Object Lesson: Strada’s House in Vienna 367
- 8 The Munich Antiquarium 383
- 9 The Neugebäude 430
- 9.1 The Tomb of Ferdinand I and Anna in Prague; Licinio’s Paintings in Pressburg 431
- 9.2 Kaiserebersdorf and Katterburg 432
- 9.3 Sobriety versus Conspicuous Consumption 437
- 9.4 Hans Jakob Fugger’s Letter 438
- 9.5 Description of the Complex 441
- 9.6 The Personal Involvement of Emperor Maximilian II 455
- 9.7 Ottoman Influence? 463
- 9.8 Classical Sources: Roman Castrametatio and the Fortified Palace of Diocletian at Split 467
- 9.9 Classical Sources: Monuments of Ancient Rome 480
- 9.10 Contemporary Italian Architecture 489
- 9.11 Strada’s Contribution 500
- 9.12 Conclusion: Strada’s Role in the Design of the Neugebäude 507
- 10 Other Patrons of Architecture 514
- 10.1 The Courtyard of the Landhaus in Graz 514
- 10.2 The Residence for Archduke Ernest 517
- 10.3 Other Patrons: Vilém z Rožmberk 520
- 10.4 Jan Šembera Černohorský z Boskovic and BučoviceCastle 524
- 10.5 Christoph von Teuffenbach: The House in Vienna and the Castle at Drnholec 530
- 10.6 Reichard Strein von Schwarzenau and the Castle at Schwarzenau 534
- 10.7 Conclusion 542